As always, this writing does not represent the official views of Universal Co-Masonry, but is simply the reflections of one Co-Mason.

The figure of the Devil is among the most prominent and significant religious figures in the world today, particularly in the Abrahamic family of religions that have come to dominate the globe. The contrast between God (or his representative) and the devil is taken to be one of the most fundamental dynamics of many religious worldviews, even to the point that Satan serves as a symbol for those who oppose or criticize religion. Even for the non-religious, it’s impossible to deny the significance of the devil as an archetype in our culture.

Today, I’d like to take a slightly different approach: Is it possible that the entire concept of the devil emerges directly from a certain limited concept of God?

Our Father, Who Art In Heaven

Inasmuch as the Devil is a shadow figure, perhaps even the quintessential iconoclastic antithesis to all that is regarded as good or holy, it represents the unconscious “dark” elements that are regarded as the opposite of the divine. In other words, the devil becomes the shadow aspect of God, and within us, the shadow of our own divinity. Whether or not a literal, supernatural entity that we might identify as the devil exists, we can see this symbolic truth. We can also surmise that the most essential quality of the devil is rebellion or resistance to the divine will, for the sake of self-gratification, and so represents the temptation each of us feels to indulge in personal pleasure, at the expense of our moral principles or nobler priorities.

All of this presupposes a divine ruler on high, sitting on a throne in heaven, issuing commands, directing angelic activities, hearing and responding to prayers, even feeling gratified or displeased with earthly events. This is the image of God described in the Abrahamic faiths, often taken quite literally by believers. Even less anthropomorphic concepts of a monotheistic God are generally finite, in this way. God is thought of as a being who is somewhere, perceiving events, doing things, even peering into our very hearts and whispering in our minds, a sort of ultimate person above all lesser people, or as the saying goes, “King of Kings, Lord of Lords.”

Given all of this, it seems inevitable that out of this supreme, uber-person-God’s many created lesser beings, one of them would eventually question his position and rebel, and as it so happens, Lucifer was the first angel created, and the leader of the rebellion not long after. The relatively recent origins of this idea can be picked apart at an academic level, but nevertheless, it is the dominant devil mythology of the dominant religion of our time, Christianity.

Father and the Rebel

“Return of the Prodigal Son” by Rembrandt

Of course, if God is an authority figure, there has to be an anti-authority rebel. How else could it be? If the devil hadn’t gone rogue, a human surely would have. The real question we should be asking ourselves is: should we take either of these two concepts seriously?

It’s no secret that many intellectuals have been critical, if not outright rejecting of this traditional concept of God and the devil. It seems too obvious how this uber-person was simply created by human minds, attempting to imagine a divine authority based on earthly authorities, or perhaps being imposed upon them by those earthly authorities as a justification for their rule.

If you want your sovereignty supported by your subjects, be sure you have the endorsement of the highest authority. Even regular philosophers have increasingly questioned and rejected this idea, from the time they gained the right to do so without being tortured and killed.

Likewise, it’s difficult not to see the utility of the penultimate bad boy devil as both a scapegoat for our human failings and a scare tactic to keep the pews filled. That’s not to say that this dynamic duo doesn’t have symbolic value and that these stories aren’t useful in helping to shape human behavior towards a better trajectory. This is especially true for those who have trouble understanding a more rational concept of God. But for the rest of us, how else might we understand God, and is the devil even necessary?

Light Casts No Shadow

If we look to the many religions of the world, there are some for whom the figure of penultimate evil is either nonexistent or has a much lesser emphasis. It’s no coincidence that these also have quite different views on the nature of God, as well. We can easily see in this comparison how it is precisely the authoritarian concept of God which produces our angelic rebel. After all, without heavenly authority, who would he have to rebel against?

In Buddhism, for instance, while some variations may carry over personifications of evil from their polytheistic precursors, in general, the only enemy of mankind is ignorance itself. Likewise in Hinduism, while various Gods and Goddesses represent manifestations of “aspects” of God, even the dark or destructive ones are seen as mere parts in the divine play or dance of creation. In Paganism, Taoism, and occult or esoteric traditions the world over, there is likewise little-to-no concept of an embodiment of all evil, or at least not one that carries the same cosmic significance and literal personification as the Abrahamic devil.

What else do all of these various non-Abrahamic traditions have in common? You guessed it, a quite different concept of God, or the divine. While there are minor differences, they tend towards a view of God as a universal mind, or omnipresent, transcendent cosmic consciousness, like the Hindu Brahman. Even the mystical elements of Abrahamic faiths, such as Christian Mystics, Islamic Sufis, and Jewish Kabbalists have less anthropomorphic, more mystical concepts of God, and emphasize the devil less.

Many thinkers have proposed that these varying views are merely stages in a linear evolutionary development of our understanding of God, and that each can serve various people, depending on their capability to comprehend. For many, perhaps the simpler stories and images can suffice. In Freemasonry, each Mason is entitled to his or her own religious belief and conception of God, however personal or mystical; only the belief in a higher power is required.

The serpent is one of mankind’s most significant symbols, showing up prominently our myths, stories, and dreams. What is it about the slithering snake which speaks to us on such a deep level, that resonates with some archetypal force in our inner depths? Furthermore, what role does the snake play in esoteric philosophy?

The language of symbolism is built on a structural syntax of similarity of forms. Two otherwise disparate things are connected, because they bear some likeness to one another, and through this principle of sympathetic resonance, all things are connected. So, what likeness does the snake owe it’s archetypal resonance?

Serpent in Myth and Legend

The serpent plays a role of some kind in most mythological systems, and is one of the most common elements to appear in individuals’ dreams. Dreams are still a mystery to science, but those who delve into their analysis can see that they speak a language which stretches beyond our nightly sojourns, into the dream of this waking life, as well. So, the serpent, too, spans the gulf between personal sleep, and waking collective myth.

Adam and Eve in the Garden of Eden – Lucas Cranach (1531)

Perhaps the most famous snake in the Western world was that which tempts Eve in the Garden of Eden to eat of the forbidden fruit of the Tree of Knowledge. Whether this Knowledge purveyor was truly a deceptive villain depends on the interpreter of the story, but certainly the mainstream of Christianity sees the it as such, even the devil himself. A Gnostic view, on the other hand, portrays the Edenic serpent as the Luciferian liberator of mankind from Jehova’s captivity.

In other myths and traditions, the serpent is seen as less nefarious, and often as a symbol of wisdom, perhaps because of its apparent stillness, self-control, and single-pointed precision when attacking. It plays the role of guardian of the center of the world in Greek mythology, twin encirclers of the world in Chinese mythology, intermediary to the Gods and bringer of wisdom and culture by the Aztecs, and initiator of manhood by the Australian Aborigines, just to name a few.

Perhaps most significantly to Freemasons, the Egyptians saw the serpent as one of the primary forms of the Sun God Amun-Ra, the divine inseminator of the cosmic egg from which sprung all of Creation. As we’ve all seen, the Pharaohs were also represented with serpents emerging from their forehead, and many have speculated that this relates to the “third eye,” the psychic or spiritual eye which is said to see all.

Last, but not least, the Vedantic teachings of the East also use the serpent as the representation of one of the most important forces in the universe, that coiled-up latent power which dwells in the gut and lower regions of the Human being, known as kundalini. It’s said that as one progresses along the yogic path, this serpentine life-force energy will be roused from its sleep, and climb up through the chakras, to finally arrive at the third eye, and provide complete illumination to the enlightened individual.

The Serpentine Universe

Beyond the investigation of the serpent’s mythological roles throughout history, another connection interests me, and that is the serpent’s form as an apt representation of both dimensionality, and the central nervous system.

Serpent Nebula: Found in the western region of the Milky Way

As you may recall, the progression through the dimensions begins with the zero-dimensional point, proceeds to the one-dimensional line, the two-dimensional plane, three-dimensional space, and perhaps beyond into higher dimensions. And this dimensional framework makes up the basic structure or matrix of our reality.

If you consider the head of the snake to be the zero-dimensional point, which leads the motion of the snake creating a one-dimensional line, then this motion slithering in an S-form also reveals the two-dimensional plane; finally, when the king of snakes, the cobra, stands upright and erect, it reveals three-dimensional space. Thus the serpent can be seen to represent the most basic form of any entity existing in the matrix of space-time.

Furthermore, as illustrated in this video, the possibility of higher dimensions implies that our entire 3D physical universe may be a single point, like the original zero, in yet higher dimensions, moving through hyperspace to leave behind a snake-like timeline which makes up the past, a process which repeats to create higher and higher dimensional spaces until, perhaps, the tenth dimension of infinity.

The Serpent of Man

Lastly, you can take everything just said about the serpent and apply it to our own form,

Central Nervous System of Man

The Central Nervous System that of an upright central nervous system. Have you ever looked at an image of our nervous system removed from the body?

We are like serpents who grew limbs, hair, and skin. The central intelligence of our body/mind is a serpentine brain and spinal cord, with various smaller branches protruding out into the rest of the body. So, perhaps in the end, we are the serpent.

As always, the thoughts expressed in this writing are not the official views of Universal Co-Masonry, but just the reflections of one Co-Mason.

This is Part II of a two part series, “Colors in Freemasonry.” Part I can be found here.

Freemasonry is a system of age-old knowledge handed down primarily through the language of symbolism, and a part of the vocabulary of symbolism that is most significant is that of color. Color saturates our entire experience, and can be quite easy to take for granted, or simply see as a case of happenstance. This or that object simply “happens” to be this or that color, and while it certainly has aesthetic effects, this is more or less the scope of it’s significance.

Yet anyone who has spent time learning the language of symbolism, whether in the context of Masonry, the interpretation of dreams, or analysis of art and fiction will know that color carries enormous symbolic significance. To dream of a blue boat can be quite different in meaning than to dream of a red boat, and the same principle applies to any dream symbol and it’s color. As a body of knowledge communicated in the same language of symbol as dreams, the arts, or religious mythology, color in the Masonic Lodge is likewise an essential layer of meaning for the Initiate.

So, what do the various colors mean in the language of symbolism in general, and to Masons specifically?

Green

The color of grass, trees, moss, and the myriad forms of verdant plant life. It’s impossible not to associate green with peace, happiness, and the thriving of life, due to it’s association with plants, grasses, and forests.

Throughout our evolution, the green places have been those with food and other valuable resources, and where green was lacking was also desolate and harsh landscapes. In the chakra system, the green chakra represents unconditional love, growth, and balance, as it is the central chakra along the spine, corresponding to the spiritual heart.

In Masonry, because of its association with the evergreen trees of the North, green represents immortality, and thus all that is immortal, truth, divinity, and the soul. The emerald tablet of Thoth is also worth noting, as well as various Egyptian deities whose blood was said to be green, and finally, the sacred green acacia plant.

Blue

The color of sky, air, ocean, sapphire, and ice. Blue is the color which is in many ways the opposite of red, representing the calm of the ocean, the expansiveness of the clear sky, and that which transcends the physical. Depictions of ghosts, spirits, or other non-physical beings are often blue, perhaps because of the rarity of the color’s appearance in the actual physical world.

Other than the ocean and sky, which are themselves transcendental, only certain flowers, feathers, and eyes display the color blue. The blue chakra is associated with connection to the divine, creativity, and inner tranquility, corresponding to the throat.

Blue is perhaps the most significant color to Masonry, representing the first three degrees, known as the Blue Lodge, which at one point was the entirety of Freemasonry, and is shared by all Masons, regardless of further degrees they attained. Blue was regarded as special and sacred by many cultures from around the world, including the Egyptians, and Masonry likewise regards it. In various places it was associated with divine wisdom, perfection, purity, and immortality.

Indigo/Violet

Color of spiritual vision and royalty. Even rarer in nature than blue, indigo only appears in certain feathers, flowers, or minerals, and so has an even greater mystique about it. Some shades of indigo seem almost not made for human eyes to see, and have a glow-like appearance. Indigo is said to be the color of the inner eye, spiritual vision, psychic capabilities, and royalty. In the chakra system, indigo and violet are separated, with indigo being the third eye, the center of spiritual intuition and extrasensory perception, and violet being the direct connection to God or the higher self.

In Masonry, indigo/purple can be seen historically as a symbol of royalty and power, as at one point it was extremely valuable in trade, and worn by royalty in Europe. It has also been suggested that Indigo may have been the mysterious color of the ancient Hebrew priests’ robes, referred to as techelet. It can also be seen as representing the merger of the lower self, represented by red, with the higher spiritual self, represented by blue. Masons also use violet in particular to represent mourning, a tradition adopted from the ancient Chinese.

White

Color of light, purity, innocence, and the merging of all colors together. White is worn by brides, is the color of the blank canvas, and is the color of raw unfiltered light itself. White contains all colors in perfect balance, and gives whatever light it meets perfectly, absorbing none for itself. It’s also connected to cleanliness, as it shows any impurity clearly, thus giving a house the “white glove treatment.”

White calls to mind a sort of wholeness, the completion of all colors added together and balanced, or conversely, the wholeness from which colors may be created, by darkening the white canvas’s purity with some shading.

White is prevalent in the Masonic Lodge as a symbol of Light, as well as purity in some respects, and Masonic regalia, particularly in Universal Freemasonry, is largely white. Here, again, as with black, white’s role in the checkerboard floor pattern of the mosaic pavement is worthy of consideration.

Freemasonry is a system of age-old knowledge handed down primarily through the language of symbolism, and a part of the vocabulary of symbolism that is most significant is that of color. Color saturates our entire experience, and can be quite easy to take for granted, or simply see as a case of happenstance. This or that object simply “happens” to be this or that color, and while it certainly has aesthetic effects, this is more or less the scope of it’s significance, as people normally think.

Yet anyone who has spent time learning the language of symbolism, whether in the context of Masonry, the interpretation of dreams, or analysis of art and fiction will know that color carries enormous symbolic significance. To dream of a blue boat can be quite different in meaning than to dream of a red boat, and the same principle applies to any dream symbol and it’s color. As a body of knowledge communicated in the same language of symbol as dreams, the arts, or religious mythology, color in the Masonic Lodge is likewise an essential layer of meaning for the Initiate.

So, what is the meaning of colors in the language of symbolism in general, and to Masons specifically?

Black

Color of darkness, the endless expanse of space, the depths of the Earth, and absence of light. Black is first and foremost the unknown, as it is literally what is dark, what is not illuminated. As such, it can also represent not just the unknown, but the hidden, and the act of concealing.

Archetypally, we often associate black with evil, as we see evil as a kind of darkness, an existence not brightened by the light of love and knowledge. Black does not correspond to any standardly recognized chakra, however the absence of light from any given chakra can be said to be blackness, in effect.

In Freemasonry, black can represent grief, can be connected to Anubis the God of Death and all that he represents, as well as carrying all of the symbolism described above. The role of black in the Masonic mosaic pavement is a central element of the Lodge, and worth pondering.

Red

Color of blood, fire, passion, gore, and anger. We say we “see red” when we are angry beyond maintaining composure; prostitution occurs in red light districts; we give red roses to those we are in love with, and “paint the town red” when we release all inhibitions and indulge our whims and passions. It can represent anything from war and bloodshed to health and vitality.

Red is also the color of Vulcan, or Tubal-Cain (see image), descendant of Cain, progenitor of civilization. It’s also noteworthy that the name Adam is akin to the word for red, and so the mythological first human is connected to the first chakra, and the first level of the hierarchy of needs.

The red chakra is usually associated with the most basic physical needs and drives, including money, sex, and health.In Masonry, red carries an association inherited from the ancient Egyptians, that of fire, which is the regenerator and purifier of souls.

Orange

Color of autumn, dawn and dusk, and bright flames. Orange is a color which tends to elicit strong reactions from people, whether positively or negatively; as the saying goes, either you love it or you hate it. Orange conjures feelings of vibrancy and energetic overflowing, perhaps due to its association with the sun and fire. The orange chakra is associated with both personal power as well as sexual the sex drive.

Oddly, the color orange seems not to make many appearances in the Lodge. Perhaps it is lumped in with red in some cases, and yellow in others, but we can assume it carries much the same symbolism as above, when it does appear.

Yellow/Gold

Color of the element of gold, the sun, sunflowers, and the happy face. Yellow is a color which has mostly positive symbolism, perhaps because of its association with gold, and is often also connected to the intellect, as well as radiance, as that of the sunflower, and happiness.

We also use it to describe cowardice, but this is virtually the only negative association. The yellow chakra has to do with the intellect, and also social aspects of life, those having to do with society at large.

Yellow appears on various regalia and aspects of the lodge, often in the form of metallic gold, and in addition to the inherent associations with the precious metal, was also the symbol of light in the ancient world. Thus, although it may not play a central role in the lodge, it nevertheless represents the goal of Light which the Mason seeks, including the radiant beams reaching out from the All-seeing Eye.

Alright, we’ve made it halfway through the spectrum, we’ll continue our review of the symbolism of colors in Part II.

Perhaps most well known as a Masonic Biker organization, the origin of the term Widow’s Son is actually quite old and deep in Masonic Lore. What is the significance of this term, why is every Mason considered to be a Widow’s Son? As with so many other aspects of Freemasonry, the mystery of the Widow’s Son is part of a multi-layered living tapestry of myth which is both investigated, discovered, passed on, and reconstructed over time by each Mason individually, and all Masons collectively.

As always, this writing is not an expression of the official views of Universal Co-Masonry, but simply the reflections of one Co-Mason.

Biblical Lineage?

As even non-Masons may be aware, Freemasonry takes as its primary mythological framework various aspects of Biblical history, particularly King Solomon, and of course the central figure of the architect which he chose to build the Temple of God during his reign, Hiram Abiff. One line of investigation into the term Widow’s Sons speculates that the title refers to a literal genealogical lineage, a vine whose fruits include Jesus, Solomon, David, all the way back to Enoch, and Adam, the biblical first human. As you might imagine, Masonic Grail Bloodline theorists have a heyday with this interpretation.

The reason this lineage is referred to as Widow’s Son is that one of it’s early maternal ancestors is the biblical character of Ruth. She was a Moabite, a people descended from the incestuous episode with Lot and his daughters after Sodom and Gomorrah were destroyed. However, Moab was also a nephew of Abraham. Therefore, Ruth was a member of this somewhat “tainted” yet still royal branch of the Israelite family, and was particularly righteous because of her loyalty to her husband (from Judah), even after death. For this, she was eventually blessed by becoming husband of another Judean, Boaz, and eventually, Great Great Great… (30 generations’ worth) Grandma to Jesus.

Does being a Widow’s Son, in the sense of being a Mason, have some connection to biblical genealogy? Given that there’s no particular genealogical or genetic analysis when you become a Mason, this is doubtful, although we can’t say there’s not some way in which it might be relevant. I can’t even begin to touch any sort of thorough investigation of this topic within the span of this short article, but the above links and some related Googling can no-doubt lead you down a deep rabbit hole, if your heart so desires.

On the other hand, it’s probably more likely that the meaning is more symbolic, perhaps having to do with bringing Lost Children of God back into the fold, or in an internal sense, aspects of the self which have gone astray back into alignment with the internal divinity. As with just about anything, you can also interpret it in a Jungian fashion. In that vein, another line of reasoning says that the Widow’s Sons are actually the children of matter who are separated from the spiritual paternity of God the Father, with the Widow, in this case, being the feminine aspect of God, as manifested in the material world.

This would make the “Widow’s Sons” those who have lost their connection to their divine origin, God the Father, resulting in a clinging to Mother Nature, but seeking to find that paternal divine connection again. Interestingly enough, one etymological interpretation of Hiram Abiff means “the king that was lost.” Of course, this also has relevance to the Egyptian origins of the story, and the mythical deceased God-King.

The Orphan Hero Archetype

One archetype you may have noticed about the various stories that have captured the popular imagination is that of the Orphan Hero. If you’ve never thought about it, take a moment to consider how many heroes and villains of fiction are orphans of one kind or another, a list which includes notables ranging from some the most popular superheroes like Superman, Batman, or Spiderman, to various fantasy protagonists like Frodo Baggins or Harry Potter himself. What is it about the Orphan Hero that speaks so strongly to the collective mind? It’s a well-known psychological fact that fatherless children are at greater risk of a variety of mental health issues, and general life problems, and this may be why many villains are also orphans. However, as we see played out in our fictional orphan heroes ad infinitum, that risk may actually represent merely one half of a potential to go farther in either direction than an otherwise normal person would, simply by virtue of facing the harsh truths of life so early on. Perhaps there is a reason that Freemasonry is known for caring for widows and orphans, and taking the literal widows’ sons under their wing in traditional male Freemasonry. Certainly widows and their sons are some of those most in need, but perhaps are also known to possess some unique potential, due to the psychological consequences of their situation?

It doesn’t require much imagination to see how such an event as the early loss of one or more parents might jump-start the consideration of the larger questions in life, a dark night of the soul long before most people ever have to confront such things, at the very least. An analysis of the orphan archetype reveals that it contains both perils and potential. However, given that actual orphans are relatively few and far between, compared to the vast majority of relatively normal family situations, why does the orphan hero play such a prominent role in popular mythology?

Diamond in the Rough Ashlar?

Indeed, if we look carefully at the orphan hero archetype, the personality traits the characters exhibit are often those of the type of person drawn to Masonry. Think about the common orphan heroes: Harry Potter, Peter Parker, the young Clark Kent, Bruce Wayne, or even Cinderella. Their dire situations in life set them apart from the herd, and make them more reflective, serious, and possessing some extra quality, which may be fictionally manifested as intelligence or some kind of magic, edge, or latent superpower; however, they are also often lacking in certain key skills like confidence, decision-making, discipline, and leadership, things ideally learned from a father. The hero’s journey they undergo is typically about learning these aspects by facing their fears and embarking on a quest of facing the darkness of life, at first with some assistance from wise helpers, but ultimately on their own.

Why this “something extra?” In the realm of personality, what you do is what you become. If an early major crisis prevents you from easily relating with your peers, and also compels you to seek greater meaning in life, then much of the energy that would normally be spent on “normal” socially-driven activities will be spent on something else, and what often manifests from this is an increase in other skill-sets mostly unrelated to social activity, such as creativity, rationality, philosophy, and insight. By virtue of being somewhat detached from the primate dynamics of normal human social hierarchies, such people are more likely to develop things like wisdom and intellect early-on.

The Widow’s Son is ultimately something we all find relatable and significant, whether or not destiny has literally foisted an early dark night of the soul upon us.

On a more symbolic level, from Horus to Luke Skywalker, we can all see a bit of ourselves in the many iterations of the Orphan Hero, perhaps because of the symbolic disconnect from the mundane world, and sense of some higher purpose to be discovered. The challenge which is faced by us all is to learn the inner tools necessary to manifest the potential within us, and that is exactly what Freemasonry is designed to do. The end result, when properly executed, is leaders or “Kings” in society who are not simply common, beastly people playing the dominance hierarchy games of human society purely to fulfill their own base desires, but thoughtful and wise leaders, who may have otherwise never risen to the occasion, had they not undergone the learning, healing, and strengthening necessary to play the role.

The connection between Freemasonry and ritual magic is something which might be controversial to some brothers. The organization has intentionally de-emphasized such esoteric aspects of the Craft, at least in mainstream male-only Masonry, to focus instead on charity and fraternity. Universal Freemasonry for Men and Women, on the other hand, chooses to embrace the less mundane aspects of our tradition, so an idea like the one discussed in this writing is much less controversial among our Order.

As Masons, we enact rituals which change little over time, carry layers of philosophical significance and symbolism, and are meant to teach and transform each Brother. What is the magical significance, if any, of these rituals? Continuing with the theme of examining Masonry through various lenses, today we’ll inquire: Is Freemasonry a sigil?

As always, this writing does not reflect the official views of Universal Co-Masonry, but is solely the reflections of one individual Co-Mason.

Sigils, Symbols, and Sympathetic Magic

What is a sigil? Sigils have been used throughout the history of magic, as a symbolic means by which to execute some magical action. This application has ranged from the sigil representing the name of supernatural entities, and therefore the power to summon them, to the more modern applications of Chaos Magic, which view them as symbolic representations of the magician’s intent.

In his excellent book Real Magic, Dr. Dean Radin discusses the scientific reality of what ancients called magic, and researchers today tend to call psi phenomena. Taking the more modern scientific view on magic, he includes a section about sigils in which it is explained that sigils use the law of correspondence, or sympathetic magic, to influence the world in some way and achieve a desired goal. While the mechanism by which this allegedly occurs is still unknown, many speculate that symbols or information may be fundamental to the fabric of reality itself. This is one way to explain why symbols, plus human intention, are able to affect changes in some mysterious, non-local way.

In the book, he recommends a simple sigil that illustrates the concept: take the letters of an acronym representing what it is you want to achieve, then rearrange and blend the letters together, to create a symbol. The main thing is that this symbol represents the desired goal to you, and gives it a graphic form, which you can then charge with intention, via a ritual, meditation, or method of your choosing. The combination of your intention and this symbol is supposed to literally reach out non-locally, to effect change toward achieving your goal in a magical or synchromystic sense. This is a basic illustration of the principle of sigils.

Sigils, Sigils Everywhere

If one considers magic to be real, as current psi research indicates, and sigils to have a true effect by somehow utilizing nonlocality to extend human intention into the world, this brings up a possible re-interpretation of not only Freemasonry, but many other aspects of human culture, in general. If the sigil-effect is real, for instance, then how might that re-shape our view of art, corporate logos, architecture, city planning, and media in general?

While symbols are everywhere, the degree to which they have a magical effect is supposed to be determined by various factors, like how much human intention they’re being “charged” with, how often the ritual is performed, how many people are involved, etc., at least according to those who feel they’ve gained some understanding of this mysterious phenomenon. This means that symbols employed in a highly focused and regularly performed ritual would carry a great deal more power than a corporate logo, for instance.

Crafting a Spell of Awakening?

Thus we arrive at the consideration of Freemasonry’s symbols and rituals, in a magical context. The origins of the Speculative aspects of Masonry came from traditions such as Hermeticism, Rosicrucianism, Alchemy, and Astrology, all of which were at least somewhat magical in nature. Therefore, its reasonable to suppose that those who originated the Craft were aware of, or believed in the power of symbol and ritual.

Considering the highly focused and disciplined nature of Masonic ritual, as well as the Fidelity and intention with which they are performed, it stands to reason that if the sigil-effect is in fact real, Masonic rituals performed regularly throughout the world must be performing a type of magic which reaches far and wide. While sigils in the traditional sense are a graphical symbolic representation, of which the Lodge and rituals contain plenty, it’s also interesting to consider that the rituals themselves may be a sort of 4-dimensional sigil, written into both 3D space, and the 4th dimension of time.

If Masonic Ritual is a sigil, what is the intention behind it? For most Brothers familiar with the Rituals, the answer would seem to be the uplifting and perfection of humanity, the bringing forth of Light from the Darkness, and the subduing of passion for the sake of Service to the Divine. What does Masonic Ritual mean to you?

When participating in Masonic Ritual, it’s clear that there is a mysterious significance to every aspect of the heavily structured procedure. Like clockwork, all is orderly, and layered with symbolic meaning. As we become more and more aware of the meanings of the various aspects of it, it becomes clear that the ritual is like a fractal representation of both the cosmos and the individual.

What exactly are we doing when we participate in masonic ritual? Are we living out a myth, reprogramming our own minds, conducting a magical ceremony, maintaining an ancient institution, or all of the above? What is the relationship of masonic ritual to concepts of myth and magic? Without revealing any particular aspect of the ritual, let us consider the import of masonic ritual, and reveal what we may.

As always, this writing is not representative of any official statement or position of Universal Co-Masonry, but is merely the reflections of one Co-Mason.

A Veil Within a Veil

Masonic Ritual’s origins, of course, may be found in the confluence of medieval operative masonry, which, much as a builder’s guild, concerned itself primarily with the literal building of sacred and often monolithic structures and maintaining the arcane knowledge thereof, with the various occult and esoteric traditions of Hermeticism, Gnosticism, Kabbalah, Astrology, and others considered heretical by the church, and therefore persecuted and suppressed. The marriage of these two traditions resulted in a transformation from Operative (purely practical) to Speculative (philosophical) Freemasonry.

What seems most clear is that the temple itself and the rituals which take place within it contain enormous symbolism, which exist in layers which are continuously revealed in degrees as one progresses through the Masonic path and hierarchy. Freemasonry describes itself as a “Peculiar system of morality, veiled in allegory and illustrated by symbols.” To any practicing Freemason, it should become apparent that the symbols, movements, pronouncements, and elements of the temple itself can be understood on many symbolic levels.

In his book The Power of Myth, Joseph Campbell wrote:

“It has been well said that mythology is the penultimate truth–penultimate because the ultimate cannot be put into words. It is beyond words. Beyond images, beyond that bounding rim of the Buddhist Wheel of Becoming. Mythology pitches the mind beyond that rim, to what can be known but not told.”

What lies between us and transcendent Truth? Joseph Campbell would likely say Myth or symbolism, and a knowledgeable Mason would likely agree. There is tremendous advantage in passing down timeless truths in the form of allegory, ritual, stories, and symbolic objects. An odd thing happens when we put Truth into words, particularly static doctrines: it becomes frozen, solidified, and thereby incapable of changing, evolving, and growing with those who read, speak, and understand it. Any change is perceived as a challenge to the old. On the other hand, embodying Truth in symbolism, even those which are locked into a certain form which is maintained down through many generations, can be continually renewed and understood in new ways, because its true meaning is inherently subjective, being unspoken.

As to what, specifically, the symbols of the Lodge and Rituals mean, this is something best preserved for the initiated, for the simple reason that coming into a Masonic understanding of these things can be tainted by being revealed prematurely. Also, they will mean different things to different Masons, and at different degrees. Suffice it to say, the many symbols of Freemasonry carry import ranging from the physical, to the metaphysical, to the cosmic, for “those who have eyes to see.”

Oh, Oh, Oh, It’s Magic?

Undoubtedly, for many it is a leap to go from passing down symbolic knowledge to practicing ritual magic. Yet some posit that at the foundations of every great religion and tradition, there is a magical thread. To bridge the philosophical materialism (or physicalism) so prevalent today, among the modern intelligentsia and conventional mainstream culture alike, with the magical worldview is a task for another writing, but certainly many of the traditions which transformed ancient operative masonry into modern Speculative Freemasonry shared some version of this worldview, whatever differences they may have had. What role, then, does magic play in Freemasonry’s Rituals? Is the average Freemason practicing magic, perhaps without even knowing it?

If we accept or entertain the idea that the world is magical, that the fundamental tenets of magic are real, then it becomes clear that any institution and ceremony which conjures and directs human belief, emotion, and intention must necessarily have an element of magic to it. If this be the case, then all religions are inherently magical, the chief difference from other forms of magical practice being perhaps merely the format, wherein the power and intent of the many is directed and conducted by the magical elite, in the form of priests or ministers, although most members and clergy alike would probably be incensed at the re-definition.

We can also reasonably suppose, then, that the Craft which is practiced in Freemasonry may have an equally magical significance and purpose, again supposing that the magical view of reality is true. However, (perhaps) unlike most religions, it seems far more likely that this more esoteric understanding of Masonry may be explicitly passed down or taught, at some point along one’s journey through the Masonic hierarchy, especially in a more mystically oriented body of Masonry. This is not by any means ubiquitous, with many Masonic Lodges, particularly in mainstream masculine Masonry, being focused primarily on simple fraternity and charity.

However, this aspect of masonry is both subjective, and subject to all sorts of misinterpretations and misunderstandings, particularly by the uninitiated. Indeed, the chief accusation of many anti-masonic conspiracy theories is that they are secretly practicing “black magic” and satanism. Perhaps this is one reason why the more magical side of Masonry is not often openly discussed, even among the initiated. After all, the reason that purveyors of the magical worldview sought refuge in operative masonry in the first place was because of such accusations and misunderstandings, which although less consequential today, still are with us.

A Magical Myth Which Lives

My conclusion to the title question of this post is that Freemasonry seems to be both, or neither. In the end, Freemasonry is what you make of it. Yet, nevertheless, regardless of how various individuals may conceptualize it, Freemasonry itself does seem to have a certain presence, almost a consciousness of its own. I find that the occult concept of the Egregor is useful to me, in understanding what this might be. Whatever the explanation, it seems apparent to me at least that Freemasonry contains an element which goes beyond the physical and intellectual, into the realm of the magical, though not all Masons may recognize it as such.